There were two printed editions of the full score (工尺譜) for the Qing dynasty work Changsheng dian (長生殿). The first, representative of the qinggong pu (清宮譜) intended for use by vocalists, was edited by the scholar Feng Qifeng (馮起鳳) and published in 1789; it contained only the sung portions with no dialogue. The second, representative of the xigong pu (戲宮譜) used among private artists and recording what was actually performed on stage, was handed down by Yin Guishen (殷溎深), a member of the Quanfu Troupe (全福班), during the Tate Qing and contains both the sung and spoken portions. A comparison of these two editions shows that Yin edition is a stage edition (臺本) situated within the kunqu (崑) tradition, with the original diao (調) and melodies changed accordingly and the lengthy set pieces of the original shortened and otherwise reworked in order to adapt them to stage performance. Taking the three sections Dingqing (定情), Kuxiang (哭像), and the Tanci (彈詞) as example, we show that the adjustments made by the artists were the result of repeated stage performances and can he seen as secondary creations in their own right worthy of our appreciation.